Svengali - "Levantado"

"For women, the best aphrodisiacs are words. The G-spot is in the ears." - Isabel Allende

I have reached an impasse. English plurals can be tricky; not an altogether uncommon sentiment among English language speakers. On more than one occasion an -s suffix simply does not suffice. Consider the moose: it is, I am told, proper to say meese when referring to more than one of these helicopter prone creatures. Which brings me to the present, where I am confronted by the term 'muse' and my own frustration - currently acting as a reminder that hypertension does indeed run in my family lineage.

Grammar aside, the history of the muse as inspiration is long and storied. In the plastic arts, Dali had Gala and Warhol had fame. Tarantino has produced a feature or two with Uma Thurman much like Bergman had a proclivity for working with Liv Ullman. Music, although not visual, is no different. Female passion can be expressed with words just as much as with looks. Although not exclusive to all musicians, Jaloo understood this premise well. Throughout his techno-brega catalog, a common theme for the defunct Belem producer is making the most of feminine emotion through nostalgiac re-workings. Although the mutual affinity for Miley Cyrus that Svengali and Jaloo share is coincidental, the premise is similar. A member of last Kuchibiru Network compilation, Svengali's music is housey and cloudy and modern and pretty, but much more importantly ir focuses on simplicity. These songs only ask of their audience to enjoying the sounds. Like his chosen subjects - Bieber and a young Hilary Duff, for example - Svengali's tracks aim innocence past; even if the most vivid memories of the music is teddy bears, foam fingers, and Robin Thicke.

Released a little over a week ago, "Levantado" too uses a Miley Cyrus single. Rather than select a MikeWillMadeIt production, though, the song at hand is from the Hannah Montana movie: "The Climb." To be more specific, Svengali picks out the introductory lines and piano; passing the previous through a northward pitch change, and not without reason. The tempo of the song is much faster than the original ballad, which happened to also lack a thumping kick drum and peripheral sound effects. Regardless, Svengali's coup de grace is a fabricated duet. Miley's voice is altered by a lower pitch, in the process creating an emotional, albeit synthetic, male-female exchange. All of this is only to be outdone by the change in rhythm after the "male" portion sings the bridge and the high-pitched vocals shift into a harmonic gear. A pleasant listen, a harmless listen, whose likelihood to be replayed is entirely subjective

- John Noggle

Dj LiloCox [CDM] & Dj MaBoOku [CDM] - "Tamborzão" & "Renato Xtrova (Original)"

Casa de Mãe has been prolific. Associates near and far - sounds common and uncommon - have found their place into ten different releases since July. The workshop, as it were, is humming with busy computer fans. And though the summer will die down sooner rather than later, CDM has given no indication that their brand of heat will go through the motions of a year end respite. In which case, the ever more frequent collaboration between CDM mavericks LiloCox and MoBoOku deserves a healthy share of the acknowledgement this cadre is due. 

A new MaboOku x LiloCox track is predictably unpredictable. The listener, the dancer, and the casual passerby, though, can anticipate one consistency because quality is the undeniable signature of this production crew. Beyond that not much more can guaranteed. However, the reason need not be ambiguous. All collaborations differ; some reinforce strong points while others compliment deficiencies. But the musical camaraderie between LiloCox and MaboOku seems to be different. As of late, when this tandem jumps on a track together the beats transcends easy categorization; an air of mutual challenging is heard. More slack is sought within their styles. The creative heart refuses to limit itself to templates and standards, and the songs below are, if nothing else, a testament to the sentiment. 

Form-wise, neither of the tracks is radically different from the recent slew of CDM songs - an intro and an outro bookending the song's large, wholesale body. "Tamborzão" is no exception, as it even resembling "Wuoh"  in aesthetics. Within the intro vocals that call, and vocals that respond are. What this song accomplishes, though, is furthering CDM's 'novo estilo.' Drums, drums...everywhere! As the floor tom and bass drum play the foundation, peripheral percussion appears. Before the mid-tempo song has even started, a maraca and clave create richness in accommodation. "Tamborzão" has semblance to a kuduro, but is more reminiscent of a batida even if neither is a sufficient description. By slowing down the tempo MaboOku and LiloCox are able to add more elements; more rhythm. Forget the melodica - which interestingly enough ends its bar on a high note - because once the straight beat of the timbal starts the duo will not cease until the audience is lost in the rhythm 



"Renato Xtrova (Original)" is the more technically proficient selection. Not unlike Puto Anderson's "Fodência KamaKamasutra,"  the producer plays with the effects at his disposal as the drums warm-up . A drum-fill marks the beginning of the track proper. What follows resides somewhere along the border of kuduro and afrohouse. As it turns out, though, the delineation is unreliable at best, and similar to the population of a World Cup winning country, synthesizers procreate shamelessly. After a few taps on the crash cymbal, the harmonic synth becomes two-fold. A marimba's presence is felt. At which point MaboOku jumps on the track. Chaos ensues. A snare roll joins the beat, the melodic synth ambly solos, and the marimba plays along for effect. A four to the floor bass returns the track to air of normality during an interlude. Predictably, though, it is short lived. Everything, save for percussion and harmony, takes a break. The timbales prove to be a poor influence because a exercise in percussive proficiency ensues. By the time "Renato Xtrova (Original)"  returns to its head, the song's biggest accomplishment is discovered: seven to eight elements are used, but the impression is of much wealthier track that has instead exploited it's 3:22 economy to its fullest potential.

- John Noggle

DJ Wayne & DJ NinOo [Txiga Pro] - "Patagoloiza 2014"

The original track is good. The remix is much better.

Without much effort, a run of the mill internet conquistador can discover cyber-gold; separating the wheat from e-sulfur, though, is another matter entirely. One such case is a song titled "Patagoloza," released by an afrobeat group called Patakas Music is 2012. "Patagoza" is a track composed in the style of afrohouse, and despite showcasing four percussive elements simultaneously it is not particularly dense. Likewise, prospective listeners need not be afraid. Check your suspicions of genre/label kitschiness. The organ on "Patagoloza" is played with purpose and the bass is filled to the brim with soul. Still, the six-minute length of this indisputable dancefloor track is frightening. So I will stopping just short of being an apologist and opine that variation in the drum and vocal department evades the boogeyman of monotony.



"Patagoloiza 2014" is another matter entirely. Txiga Pro members DJ Wayne and DJ NinOo entered the laboratory and exited with an entirely new element. A portion of the original vocals has been retained. Wayne and NinOo's ambitions, though, are more grandiose than rehashing an old tune. Not only is the beat different, but the melodic organ has been replaced by a marimba. A second, yelping, vocal sample has been included as well. As Patakas's vocals carelessly drawl over the quicker, mid-tempo batida rhythm, the original bass makes a presence; together push suspense to the precipice of calamity. But instead of plunging into oblivion, a new drum pattern rescues the audience. At which point an indefinable harmonic element creates the signature of the track's first portion. After a DJ tag, NinOo usurps the board. A third drum pattern begins. The marimba returns - accompanied this time by an ambient synth, bells, and a third percussive vocal sample. Although semblance to Pataka's song is stretching ever more thinly, the original vocals return backed by a fourth unique use of drums. As this is occuring, it should be noted that the synth is also making a worthy attempt to leave its own mark. By the song's end it becomes clear DJ Wayne and DJ NinOo have done nothing short of re-creating "Patagoloza." The qualities that makes the original enjoyable are very much present, but rather than pay direct homage, Txiga Pro has done it in its own style.

- John Noggle

Dj MarinO [B.S Produções] - "Funk VS MoOZart"

The song title, like the best beachwear, leaves little to the imagination. Yet is not the exhibited portions which generate interest. In three short words "Funk VS MoOZart" reveals so much but shares so little because it is the unknown that is most intriguing. Suitors may be left sad and lonely, with only their creativity to fill-in the mysterious gaps. Alas, an alternative - requiring exploration and effort - does exist. It does come with a downside, as these parties most bold do risk being disappointment. Perhaps the secret is better left alone.

It has been close to a month since Dj Marino collaborated with Tia Maria power hitter LyCoOx. Absence from these pages, though, does not mean absolute inactivity. The opposite is much closer to the truth for this CDM affiliate. Granted, the output of this CDM affiliate has lacked focus, but what more can be expected from the Specialist General? The variety - ranging from hardcore to afrohouse with fellow dread-head DJ Zulox from Margem Sul - is appreciated. With the monotony now disrupted, though, a return to the staples is in order; which for Marino means more kuduro beat oriented or not. Most promising, however, is that the face B.S Produções continues to explore his penchant for sample-based runs and the vocals found therein.

Its :90 length makes "Funk VS MoOZart" ideal to include in a casual mix. A listener's first impression, though, is of something more complex because takes a third of the song's duration is used for introductory purposes. Nonetheless, the vocalist leads the charge. A full drumline precedes the singer as the nature of the song is established. Aesthetics now in place, the second intro begins with a seamless transition; a sub-theme that deserves accolades all its own. A four to the floor kick drum lays the mid-tempo kuduro foundation alongside a tom. The lyrical vocals shape into single syllable percussive markers as the song blooms following a drum fill. Ambient harmony - used with intent - provides the song with the facade of something much larger . Meanwhile, additional percussion - cymbals and woodblocks - can be heard on the periphery. Once again, vocals have shapeshifted begins answering itself. Suddenly...calm. The strings and chorus of a classical sample begins. Led forth by single beats and a familiar drum roll, MoOZart joins the dance festivities and never wears out his welcome. Clutter is avoided because Only two-bars are used from the strings and one note from the chorus. Nothing is left to reveal; and the totality is marvelous. The new beat plays the ambitious Marino and his flawless track out.

- John Noggle

Black$ea Não Maya - "Voçê é feia"

In perspective, a month is not an outrageous amount of time: one-twelfth of the year or eight percent of the the Earth's revolution around the sun, Whichever way it is spelled, thirty of 365 days is a diet-sized slice cut off from the a whole calendar pie. For what it is worth, my selection is not arbitrary. One month  happens to be the approximate amount of time since Black$ea Não Maya shared any music with the public; a ten-minute mix batida mix that merits the repeat button on your music-player of choice. And where accuracy is concerned it has been two months since the collective last released any original material. The result is not unlike a sensation of greed on my behalf because BNM has been criminally underrepresented on these pages. But as luck might have it, these three Djs released a song but a day ago

Calling "Voçê é feia" a song feels wildly inaccurate. A three-minutes length is generally shorthand for an album track - a loop halfway a beat which allows for seamless mixing. "Voçê é feia" does not do this. Instead the audience  is treated to an experience which begins with a four to the floor bass.

Typical drums and a friction instrument that sounds awfully similar to a Brazilian cuica complete the foundation; the hi-hat serves the transitional cue. At which point it can be assumed that this mid-tempo kuduro has begun. The single note brass provides a welcome and the four beat vocals, with its two-beat response, serve as syncopated flare. Meanwhile, in the peripherals, a more consistent cuica sound can be heard. The hi-hat anchors the beat while wood blocks aesthetically gloat in the distance. Suddenly progress is halted. A quiet interlude plays after the minute mark and the BNM tag drops. Hi-hat still acting as an anchor, a new set of drums are fittingly used the track's newest decoration: two synths. The suppressed vocals and a drum-fill shape what will follow and give context to what has come. The first half of the track introduces the premise, the second half invites the audience to give way to inhibition. Rhythm now changed, a single high pitched synth provides harmony while another continues to carry the melody. One set of vocals is never enough, which is why after the 2:00 mark a second pair come to assist. If the song were a village, every resident comes out to play their own instrument by the time the conclusion is reached.

Like a proper party, "Voçê é feia" never ceases to take on new forms. The distinct mark of an auteur is given to the track without compromising the fixed dance nature. It is also not the case that modern tastes are ignored. The song is pleasant but not sickly sweet with generational preferences  While the track is busy it is never dense because the arrangement of each element is designed to compliment the wider scope of the song as a whole; its nature, if nothing else, is given proper respect and foreign ideas are not forced into it. Nothing more than be said that three-minutes of play button induced enjoyment cannot provide (and enjoy the free download).

- John Noggle

Dejaý Vanyfox [SBM] - "Entra Na Roda"

An out of place white man walks past a jazz funeral in New Orleans; incidentally, not an comic set-up alternative to the powerless clergymen arriving at a local watering hole once again. At any rate, it is not the sight that matter. The following actions, though, are of concern. Our man, still walking, does not exit the scene just yet. Just before the conspicuous Eric Stoner reaches the end of the block, thus able turn the corner past the cemetery, a young black child stops him and asks for one one game. Stoner obliges the request. Each participant tosses a quarter towards the wall: the object being to get as close as possible to the brick without a clash. Alas the little kid tastes the bitter superfood of defeat once more and as a consolation he receives some words of wisdom from the best up-and-coming poker talent in the United States, "You're just not ready for me yet."

What follows is not about the New Orleans musical tradition. Likewise, the discussion below has nothing to do with playing cards at all. Regardless, consider fifteen-year old Dejaý Vanyfox to be Stoner's young opponent. A fringy producer free of proper association and out of Lisbon proper, despite the low-key profile, this DJ does have the make-up of a high-stakes, renegade gambler. A youthful incorrigibility reverberates through a Vanyfox beat; which is to say emulation is present but any concern with the "proper" way of operating has yet to stick. In the meantime, this independent composer knows the desired sound and knows how to create it. The result is often times indefatigable kuduro with traditional melodic choices; nothing more nothing less and never disguised. Collaborations occur at random but tend to gravitate around an enclave of similarly aged independent producers. Ultimately, capability is not the issue - that much is certainly present.

"Entra na Roda" is one such piece of evidence. In contrast to prior releases, Vanyfox begins with the beat outwards rather than from the melody inwards. A drum, a scraper and the sound of a gasp provide the foundation. But the young card shark has a trick to debut, overenthusiastically or not, before the introduction concludes. After :10 the scraper disappears, opening a void some woodblocks are willing to fill; and all the while the vocals have become more frequent. As soon as the listener notices the hi-hat the drum fill cues the song proper. With the beat re-introduced in the context of the bass "Entra Na Roda" becomes undeniably kuduro, fast and fearless. Suddenly a two-bar melodica run becomes the key to the track's run, as the more subtle percussive elements provide credence to altered rhythm in a louder environment. What also bears mentioning is that following the loop a walking synthesizer sound creates an effect not unlike Pacman at a buffet. But "Entra Na Roda" is more than novelty; in it the audience can hear and appreciate that Vanyfox's understanding of the music and mastering of the technology to create it is ongoing.  He might still be told, ""You're just not ready for me yet," but that time is bound to come.

- John Noggle

Three Remixes for "Puxa Puxa Larama"

No official release has been confirmed; nonetheless the man with a Brazilian soccer themed wardrobe has hijacked everything north of his audience's shoulders. Limas do Swagg's promotional video has been available to the viewing public for little over a month. Time be damned, reverberations are already felt from the epicenter that it the accompanying music. The seismic monitors of the internet, as it were, have responded to the tremorous bass. Mind you, there is no pressure to watch, much less enjoy, the song and video in question. Do bear in mind, though, the apparent enforcer dons tube socks riddled with hearts.

Regardless of the security detail, response has been largely in the song's favor. Intimidation-free remixes began debuting last week; nothing surprising in and of itself. The fact that these remixes are using what amounts to a demo track in another matter. Their source may have a minuscule duration of thirty-seconds but this is of no worry to the amateur producers willing to share their initial interpretations, three of which can be found below.

Riding a promotional attention of his own, Dj b.boy's version of "Puxa Puxa Larama" does not appear on the Tia Maria EP Principe earlier this month but merits hearing all the while. Three-times as long as the original release - clocking in at just a shade over :90 -  b.boy's remix does not seem to take many liberties on the surface. Alas, this is not the case as it is undoubtedly the strongest of the three featured selections. At about the halfway mark, just when the stop-time portion begins, b.boy's accomplishment becomes clear: the Dj has fashioned a serviceable, stand-alone track from a demo. Samples are re-organized to create an original and coherent song. In addition to boosting the drum track, peripheral percussion is added throughout. Perhaps the coup de grace, though, is saving the original's bassline for effect during the chorus. In its place a fissure inducing bass of b.boy's own creation takes charge during the verse.



Not to be outdone by his mate, LycoOx released his own "Puxa Puxa Larama" remix this week. But as opposed to the prior TMP remix, this track remains true to the 'brevemente' nature of the original. Which is not to say the LyCoOx track is unworthy of attention; quite contrary. The ubiquitous LyCoOx is a man of many tricks, principle among them a penchant for bass making him an ideal candidate for a remix. Appropriately the TMP jack of all trades does not disappoint. One might ask, can the bass be juiced any more? To which I would answer: No, no it cannot. Subwoofer goodness for all to enjoy complete with snare rolls near the end bound to appease not only kuduro fanatics, but followers of contemporary Atlanta hip-hop production styles as well.


Continuing the spirit of competition, recent LyCoOx collaborator D'Cantwo Junior released his own version of Limas fo Swagg's song not twenty-four hours later. Like the original as well as LyCoOx's take, D'Cantwo makes bass the cornerstone of his remix. The mastering is decidedly not as sterile as the previous - vocals being the primary victim to this production decision -  but bears its own intrigue nonetheless. The style is relentlessly kuduro and the phrasing is decidedly longer than the original. What proves to be interesting does not appear until nearly the end when when vocals, perhaps the producer shouting the lyrics himself, are isolated and the timing for the final portion of the demo is unexpectedly altered; a not altogether unpleasant surprie



- John Noggle

[VIDEO] Limas do Swagg - "Puxa Puxa Larama (Teaser)"

At one point, two African priests - one wearing bright, red Tom's, the other an unmistakable pair of Nike trainers - swing a white man with an equally attention grabbing mohawk back and forth. An anonymous motorist on a moped looks back as the two wheeled vehicle accelerates. Despite the bystander's well-founded confusion, this scene is not lifted from an early Bunuel movie. Rather, what has been described occurs in an mere six seconds worth of introductory film. Only to adding further astonishment to the situation, the source is not even an entire music video so much as a teaser. And for anyone interested, the product being advertised is a new kuduro track titled "Puxa Puxa Larama" by Angolan entertainer Limas do Swagg.



Like the Os Detroia single from earlier in the year, "Puxa Puxa Larama" is senselessly energetic, proposes an equally exhausting dance, and is catchier than a tropical disease. But the intrigue is much more than the scene above because the totality is captivating. Cinematography and imagery merits its own accolades; two and three multishot scenes are seen just as routinely as close-ups. Its scenery is relatable, and although it does not require much squinting to observe brand-name wardrobe, unique styles are shown among the fun. As opposed to "Não faz isso bella," though, the beat is just as infectious, if not more so, than the chorus and final line, which begins with "Quando a policia chega, ninguem vai se mete! (When the police arrive, no one's going in!)." The kuduro beat is accented by a single cowbell strike; both of which are adorned by a brief synth and record scratch that do not mug for attention. Its Bass is the real attraction, though, seeing as it carries the track melodically as this is typed fancies the imagination of producers and their potential remixes.

- John Noggle

Deejay Puto Anderson [Txiga Pro] - "Fodência KamaKamasutra"

To find a stool such as the one which accompanies "Fodência KamaKamasutra" requires determination. Of the furniture's many positive traits, ordinary is not among them. Pleasure is key. For this reason, the search demands traveling beyond your local home furnishing store. As his name might suggest, Deejay Puto Anderson's bar-stool bares more in common with a Hans Bellmer doll than a backless chair. The song which adorns its showroom only adds to this effect; a steady, sensual caress both firm and tender. It ultimately becomes clear: neither provocation nor allure can be denied. Ecstasy is a natural emotion and the composer is merely acting as a facilitator.

Salaciousness aside, Puto Anderson is no two-bit pornographer. The good deejay is a leader; the name of his crew is Txiga Produções. Based out of Oreias: Txiga's home-base is North of the River Tejo and East of Lisbon proper. The collective can appropriately withstand comparisons to the likes of CDM and PDDG. Their music is rooted in African rhythms with a unique application of modern electronic aesthetics. Alas, the aforementioned Puto, alongside DJ NinOo and the mysterious DJ Wayne, are no second-tier, derivative production outfit. Txiga is marked by a quiet maturity. If nothing else the group's lower profile works to its advantage; avoiding incidental assimilation while carefully crafting a distinct sound. And what a sound Txiga Pro and managed to create. As with DDPR, each member has a specialty. Where crossover potential is concerned, NinOo, with his penchant for vocal samples, is consistently up to the task. Taking charge of fast-tempos the child DJ elaborately organizes tracks that venture into kuduro, kizomba, and afrohouse; even if the odd tarraxo rears its head. DJ Wayne's mysterious nature is not hyperbolic. The only member without a personal SoundCloud page, Wayne's name mostly appears on collaborative tracks. No clear narrative can be drawn from this DJ's piecemeal body of work, however, quality is never an issue. Puto Anderson is beyond a reasonable doubt the Txiga's main attraction. Time comes to a halt when Puto jumps on the track. Working almost exclusively with tarraxinha tracks, Anderson's brand strips the music down to its essential elements, and then works as minimally as possible; at no point denying the music's essential bedroom elements. An errant snare, hand-drum, hi-hat, or bell accents the good Deejay's hard-hitting sound - parlor tricks meant to impress audiences of any nationality.

"Fodência KamaKamasutra" is different because it shamelessly struts about like a peacock. Similar to EstraGaa's "Tarraxo Quente," Puto Anderson does not begin the album-length track immediately. The repeated false starts are unique, though, in that the track does not suffer from a drought of effects. Treble is eliminated. Phasers are implemented. The disc is rewound and repeated. From this experimentation suspense is built and the rhythm is born. As eight single beats are pounded out of one drum, the scraper labors away alongside the more typical drums. The bass acts like the errant thrice repeating vocals: highlights to the underlying beat. Following a brief interlude - the treble again being done away with as the tag is played - the single drum is replaced by a separate one to create a second section. Its appearance its brief: a stutter at :80 returns the track the the original collection of sounds. Ultimately, the pattern works towards Anderson's advantage. The available technology is is used indulgently, rather to the benefit of the tarraxo's propriety.  Furthermore, the mere five elements put into place are assisted by this decision as the element of surprise is perpetually in the beat-maker's favor. A formidable song that merits the download, lest the owner should disable this sharing feature.

- John Noggle

Dj Suaviicox [R.S Produções] & Dadifox [PDDG] - "Bella Me Tarraxa Kwankwaram (Remix)"

The aliens arrived on our fair planet. Surprisingly, what stepped out of the mysterious space vessel are martians only in name. An anti-nuclear humanoid does not currently reside in Washington D.C. with a ten-foot robot roommate. Neither little green men nor greys freely roam the Earth. Instead the delegation is of a royal variety - a King and a Pharaoh leading the charge - and these visitors seek only to improve this species' quality of life through a galaxy-wide practice. Prepare for the party to end all parties...and a music video for the ages.

More alarming than the space dignitaries themselves is the speed with which their message spread. Damagical's likability cannot be denied; but be aware that sympathizers already live among us. Suspect your friends. Suspect your neighbors. Suspect your family.  It is only a matter of time until the dance, dance revolution starts and you too fall under the influence. Note this warning is solely in the interest of public health and safety. At the time of this writing, no immunity is known to the infectious rhythm of "Bella Me Tarraxa," so more friends of the movement are bound to appear.

In the mean time, some know allies are two Portuguese beat-makers. Independent producer Suaviicox, alongside the Piqueno Djs Do Gueto member Dadifox, have taken it upon themselves to release a remix of this kizomba. Kuduro craftsmen by trade, these two Djs are uniquely qualified for the task. Taking a re-fix approach (where the Noggle standards for remixing are concerned) Suaviicox and Dadifox do not intend to create a parallel song. The two synthesizer harmony as well as the guitar melody are left intact. Instead, the duo immediately attacks the rhythm in the introductory section. Utilizing a hi-hat, snare, kick drum pattern where one previously did not exist, this team makes their intentions clear: their remix is about enhancing the track's already apt performance. Once the first verse begins the trend continues: the zouk beat is elaborated on with three percussive elements (finger snaps replacing the hi-hat). Four different beats are carved in this manner. What is most admirable about the finished product, however, is that original is never overshadowed and the intended audience is not further specialized. The intent remains the same; the only thing missing is a crowd to enjoy it.

- John Noggle

Dj LiloCox [CDM] & Dj MaBoOku [CDM] - "WuOh (Original)"

A heavyweight's importance has waned. Once titans of a martial, albeit poetic, art: mountainous men have been scaled. No longer confined by four corners and three ropes, the feared reputations of these legends are consolidated to one unfortunate act of near-cannibalism. Engulfed by convenient grills and Eastern European civil society, their hands hang unwrapped. The main attraction no longer weighs north of 200 lbs.

To a still developing DJ, however, the release of a track by a heavyweight producer is an event. Aspirations are ever-present. But to hear the creation of a person so relatable jab through the speakers and pummel eardrums is inspiring. Rightly so, influence is quickly heard. Whether it takes the form of derivative beats or tribute tracks, the homage spreads like the results of a title bout. Such is the case with Casa de Mãe mainstays LiloCox and MaboOku; institutions unto themselves. The imaginative nature of a jointly released track last week is akin a judge's decision: the audience has gotten more than their money's worth.

The album length "WuOh" inflames surprise. It is immediately clear that what follows is different. The base rhythm - a single drum marking eight beats - is Angolan in origin, but its label is not kuduro. What follows is semba. Wood blocks mark the odd-beats alongside an non-descript element charged with creating the ambient noise. The steady sound of a scraper contributes the third and final rhythmic element before the first tag - which belongs to LiloCox - and a crash cymbal begin the song proper. Herein lies the second marvel: the CDM style is malleable. Translation between similar styles is expected. After all, CDM seeks to use traditional dance styles to create contemporary hip movements more so than standardize a genre. As the vocal sample - indistinguishable from a brief shout - and marimba begin to carry the melody, the cause for alarm is CDM's proclivity to churn out music of such high quality regardless of style. "WuOh," makes utilitarian use of a mere six elements. Boredom is avoided by adding and removing individual systematically. The track's full length is used to develop a pop structure, but each section is sufficiently different from the previous to suspect looping. In short...woah.

- John Noggle

T-Box (a.k.a. Maschine Killah) [CDM] - "The Art Of Gangsta Zouk"

More than a month has passed since the video was released. The lack of complexity inside of those four white walls is perpetual. Nothing is bound to change. A childhood portrait is seen off to the side. The speed with which the fingers hit the glowing monome keys is awe-inspiring. Most telling, perhaps, is the sheer intriguing caused by a tease on behalf of the camera: a computer monitor which shows the track's progression on FL Studio. In spite of following its 700 collective views, though, this YouTube upload retains the same impact as when it debuted. The variety of minute visual details are secondary; simplicity is an illusion. Where priorities are concerned, sound is primary to appreciating "The Art of GangstaZouk"



Listeners are advised not to be fooled by the seeming lack of complication. London's Geomagic imprint is no stranger to dance-worthy sounds of Africa; take their recommendations free of references. Plus, elaborating upon the unelaborate is T-Box's calling card. Residing south of the River Tejo, in the Setubal District of Lisbon, in an area called Seixal (Miratejo community, to be eerily specific), Maschine Killah looks to progress the designed beats around him. The man known to the government as Tiago Moreira is a special kind of producer. Where one set of ears may capture a zouk beat, T-Box sees a chance to instill the digital flare of Southern rap productions. If the standard prefers a kick/snare combination, the "The Art of GangstaZouk" author might decide it is best to experiment with a hi-hat. And what makes T-Box's cannon even more interesting is a collection of noteworthy friends he is able to collaborate with.

This latest single, however, is about sheer confidence in abilities. An introduction that bears two string arrangements provides the required evidence; the transition from a 3&3 to a 4&4 phrase only rubs it in. The track's blueprint hints at the grandiose. "The Art of GangstaZouk," after all, showcases a rhythm with a hand-drum, bass drum, and bell. As a familiar snare roll appears, the suspicion of enormity is solidified. By now this much is evident: this track possesses an embarrassment of riches. The pop structure therein is not representative of the song's identity. Upwards of eight elements are used to transform the ranch-style house into a family compound. T-Box finds elegance of effect in organizing vocal samples, harp sounds, and what appears to be an organ - all of which could stand on their own - into effective supporting roles. My own ignorance prevents me from commenting on prescription. I do not know how magnetic this beat is to vocal accompaniment. However, this much can be said: res ipsa loquitur. The thing speaks for itself, and it is demanding to be heard

- John Noggle

[VIDEO] Damagical - "Bela Me Tarraxa"

American Top 40 is meaningless. Never has a more efficient - and perfectly tuned - propaganda machine existed; and yet, none of it matters. Terrestrial transmissions transmute mere humans into viable consumers. Cross-platform viral marketing campaigns succeed in morphing the narrative of an established artist into a legendary snake-oil salesman. But the hit parade no longer holds any clout. The formula is public and pop no longer feels special. An odd single might give previously mundane azaleas new interest - err, controversy - but bandstands across the American nation remains cheapened.  Nonetheless, bedroom alchemists continue to labor over the open source code in hopes of conjuring another mythical, magical figure...

...until then, the planet Earth has been visited by two extraterrestrial beings. Short of musical saviors, these inter-planetary creatures are no cause for alarm. No harm at all is meant. Before us are two aliens with a simple goal: to spread joy, provide entertainment, and infect craziness on a mission to turn the entire world into a mega-party.

The spaceship has landed. Damagical's kizomba origins are as murky as the smoke from whence they are introduced. These could be sons of Portugal or distant relatives of Planet Rock's inhabitants. Luckily both Pharao Naldanger (blonde dreadlock owner and cotton-candy themed trenchcoat wearer) and King of Love (loofah adorned, bow-tie wearing, earring visionary) have plenty of work to do. No time is to be spared on biographical details because a party that lacks any signs of life is currently taking place. No one is dancing. Attendees have not a reason to move! At which point the video's two heroes enter the scene. Damagical's two members - at least one of which can apparently exercise the power to self-clone at will - resemble T-Pain and Young Thug in both fashion and Antares affinity. Fortunately, it does not take long to notice the party has been saved from the brink of disaster. Even if the beat resembles zouk more than tarraxinha, Damagical's swagger is undeniable. The choreography is nothing short of obscene. Material idolatry, female objectivization, and 21st century western aesthetics are inseparable from the final product but the song is a banger. Not too long after the video has commenced, the group is gone. Pharao and King, we hardly knew ye; but here is to hoping that your sudden departure is cause for saving another public gathering.

- John Noggle

DeeJay EstraGaa [DDPR] - "Taraxo Quente" & "Taraxa Sem Medo"

If the cold, heartless calculation of logic prevails, the Lord himself is a fanatic of DeeJay EstraGa. God apparently loves a working man. That being said, it does not take extensive effort to notice EstraGaa has lacked leisure time as of late. By process of deduction, God must love the EstraGaa. If nothing else, DDPR's melodic extraordinaire has been a busy man for the past month. A consistent flow of original material credited to EstraGaa appear at least once a week. The man with the flute fetish has  also steadily diversified his modus operandi. EstraGaa has briefly ventured into kizomba, funana, and a return to the remix circuit. It is the most recent escapades into tarraxo , however, that even the eldest and most judgemental of fans should pay most attention to.

Released little over a week ago, "Taraxo Quente" is grandiose. This album-length track is torturously slow even by tarraxinha standards. To call it lethargic is a criminal understatement. Tectonic plates shift with more urgency than "Taraxo Quente;" but rarely will an earthquake compare to this production's explosiveness. The introduction alone inhabits an entire minute - normally excessive, but given the song's identity, greed is necessary. Following a period of acclimation, the listener is welcomed by a harmonic synth, brass, and the odd crash cymbal; surprisingly paltry for an EstraGaa song head. Just before the minute mark, an unexpectedly funky synth works with the beat - now including tom, snare and kick drum - in transitioning towards the song proper. The entirety of the rhythm section is fazed out. An ambient interlude allows the audience to cope with the enormity of the sounds consumed. The section which follows uses a second drum pattern. Intriguingly the bass is absent. This mystery is diluted, however, once the first section loops; its increases the drop effect. Ultimately, the song is typical EstraGaa. Palindromic structure aside, a plethora of elements are utilized. A healthy nine sounds appear during a fully used four-minutes.



As impressive as "Taraxo Quente" is, "Taraxa Sem Medo" proves to be the more intriguing of EstraGaa's quest to conquer the formidable Mount Tarraxinha. Bearing a much more routine tempo, this song abuses a cardinal sin during the introduction too. Rather than repeat greed in length, though, EstraGaa opts for sheer excess of resources. In the first :32, a guitar, melodica, cymbal, and two harmonic synthesizers are heard. A simple - by means of comparison - snare, kick drum form the main beat, while a vocal sample provides syncopation. "Taraxa Sem Medo" is so occupied with multi-tasking that the audience may very well overlook the third piece of percussion: an ever present scraper.The vocal and melodica briefly step aside as the producer opts to place a bridge immediately after the first section. Full of gusto, the melodica returns during the second section, just prior to the :90 mark, with a veritable solo - the first of two to grace "Taraxa Sem Medo." The vocals return soon after. As the first section loops, though, it is clear the object is not simplicity. A choir of sort joins the otherwise single beat gasp.

In the end, both extraordinarily mastered songs sound pleasant without selling-out to the aesthetics of the day. Both of impressive enough to merit comparisons to the work of the field rather than the designer's canon exclusively. Frankly, additional criticism is futile.

- John Noggle

Dj MarinO [B.S Produções] & LyCOox [TMP] - BaTéU

The internet is the great equalizer. Providing a medium for the distribution creative works - as well as for building a cult audience - the world wide web is the lockpick to the gates that protect the entertainment industry's castle. No moat can now cease the progress of invaders. Platforms such as Bandcamp, Tumblr, Soundcloud, or nothing personal websites are gathering places for this popular conspiracy; and a meeting is always in session. The online world has become a trans-border jailbreak.  But who is victim? Must there be one? With increased access comes greater participation: a dual-edged sword. More so from the the established order, quality is often  the collateral assault victim. Perpetrators of this liberating crime swing blunt force at random, fallout is addressed later, if at all. Thus, releases vary greatly in quality but flood cyberspace all the while, The assumption is good taste, rather than groupthink, will preval.

Casa de Mãe affiliated producer DJ MarinO blurs the line between layman and professional. The result is not negative. Marino, alongside with DeeJay Neniifox and DJ Liobrau, form the loosely knit collective known as B.S Produções. Working out of Lisbon proper, B.S puts a variety of sounds; all of which reflect the current state of the city's musical pulse. B.S tracks stand comparisons to the works upper tier producers because their composers are students of the craft. Neniifox and Liobrau are generalists - releasing track that range from semba and kuduro tracks to Afrohouse and hip-hop. Dj MarinO is different. An all around kuduro specialist, MarinO is a beatmaker who has gained proficiency in all aspects of the genre. His tracks are no stranger to tempo-shifts. The use of vocal samples for syncopation are also abound; and considering his alliance with CDM the man is no stranger to ample percussion. Melodically, Marino can dig for samples and appeal to EDM sensibilities. Rendez-vouz into bass, however, is perhaps what make the collaboration below so promising.

Teaming up with Tia Maria's omnipresent Frenchman, LyCoOx and MarinO released a creation titled "BaTéU" last week. A fast kuduro that that is frugal with its chosen elements,  "BaTéU" is wealthy nonetheless. Following a ten-second spoken introduction, culminating in a snare roll, the song begins on cue with a pounding bassline. A  miscellaneous sound akin to a record scratch assists the 4/4 bass by a single ascension and descent. The beat is quick and relentless; so much so that the needle is pulled halfway into the first section because it does bear to be heard twice. The first synth is introduced by LyCoOx during the subsequent interlude; a high pitched, electro melody juxtaposed to a second harmonic synth incorporated just past the :50 mark. This two-part squeaking balloon analog is joined by a second drum pattern. All of this is consequently being moved along by the still throbbing bass. A second, unique interlude follows. Spearheaded by the main synthesizer, the rhythm is largely phased out as a new voice leads the listener into a loop of the song's first section. While the melody is average, the song is not. By clocking in at 2:32, the two beatmakers allows for the song to develop a symmetrical A-B-A structure that adds intrigue to the prescription of danceable drums. Granted, the song's attraction is largely due to taste of the times but it is compensated for by the mere fact that it is made of four or five elements. SImply put, this is quite a promising.

- John Noggle

popcorn_10 - "tree"

M.C. Escher is Holland's greatest cultural export since windmills. Less of a fact, and more of a declarative bit of Noggle Wisdom; subjectivity is key. It is not, however, without standing. Their national footwear has been appropriated by a deceptively inviting, plastic amphibian. Anyone can now harvest and reap the benefits of wind. Fungus - of the third-eye opening variety - can be found in rancid shoe boxes anywhere the doors of perception swing open. Not even the Dutch national greenage remains exclusive to their droopy eyed coffee mermaids. All the while Esccher remains unique - tried and true. When considering the totality of these statements, I remain astonished that this master of lithographs and hand-drawings of hands drawing hands does not get more credit as one of the Netherland's national treasure.

Aside from adorning college dorm rooms from sea to shining sea, Escher does serve a purpose. What the M.C. lacked in traditional mediums he compensated for in imagination, dividing planes as he pleased. Escher was scientist disguised as an artist, and an artist disguised a a scientist. A simple "what if," question could prove as a source of motivation for years to come. This mindspace combined the best qualities of childlike curiosity with the craft mastering abilities that come with adulthood. And while ladder-centric marvels may not protrude from the speakers, and a single aural scene from two-angles is unlike to be composed, popcorn_10 possesses similar qualities to the above illustrator. Songs credited to the Boston based composer seem to also ask "what-if." His tool, though, is the freeware SunVox; his aesthete dreamlike and modern. So long as a tune is enjoyed the goal is accomplished. 

"tree" is no exception. While the song lacks popcorn_10's penchant for a relatable funk melody and the nostalgia of 90s video game compositions, a vague hip-hop beat can still be heard. In the first three seconds a seed is planted: a modulated bass drum comes together with the sound of a stick's shoulder to the drum-rim. The sprouts soon spread. Three synthesizers come together: two formless sounds out of a SETI lab form the harmony while the keys carry the melody. Progress continues to be made. Just past thirty seconds a modal bass is employed and the sensation of suspended animation continues. Save for the vague inclusion of castanets in the rhythmic section, the songs returns to the first section. Suddenly, the surface is cracked. Not unlike a plant, the sounds purposely crafted by the producer come together to form a finished product. A high pitched, non-threatening sound - perhaps a Ondes-Martenot variant or maybe just an attempt at a bird's whistle - hijacks the melody. Ambient noise that sounds like it would be more at home on techno track provide peripheral entertainment. The question seeking an answer is, "What if a song grew like fauna?" and the answer is a wide-angle view, two and a half minutes long. In the end, the track is neither boring nor ugly. Truth be told, it is another worthwhile listen from a musician that sound much more experienced than his track record. The only concern lies within its positive qualities Because the song's purpose is to induce pleasure; its focus on being inoffensive verges on assimilation to community group-think. 

Then again, why not just listen and enjoy?

- John Noggle

Productor BiG vadO [DDPR] & PMB - “Jack Daniels (Afro Jungle Mix)”

Not all sins are created equal; something unfortunate, but only for the equitable disciplinarian. As a rule of thumb, though, in love and business complications should be avoided. Luckily, alternatives exist. With minimal erring options, punishments are streamlined. And so the church of capitalism states but one rule: do not cheat. Insider trading, garnishing wages, and hiring underage labor are nothing more than cumbersome details that all fall under the umbrella of unfair advantages in a wholesome competition of greed. Yet the temptation is great. The proposition is so sweet, in fact, that not even the great and powerful Doctor named Oz can hide behind a curtain; for he too falls prey to a variation of cheating, by means of false advertising.

Contrary to magic weight loss pills, Deejays di Puro Ritmo are not ones to mislead. The crew’s name might as well be their credo. Styles differ - releases vary between tarraxo, batirda, kuduro, and recently, funana - but the mantra of rhythm pureness is never compromised. Whether on solo tracks or collective projects, DDPR never compromises their ideals. Appropriately then, the optimal word for describing Productor BiG vadO’s newest track is “rhythmic” and “orgy.” “Drums” can be substituted at will, just as well articles may be introduced if so desired. Alas, this mid-tempo batida remains a climax of percussion regardless of vocabulary.

“Jack Daniels (Afro Mix)” lacks the producer’s trademark high energy, but compensates by means of arrangement arrangement. BiG vadO begins with a two-beat hi-hat that mimicks the bass; which proves to be the one and only consistence. The song's intent clear from the start. A foundation now established, a tom makes a syncopated appearance just before chaos is unleashed. An unashamed voice suddenly shouts. A single flute note and free vocals establish change, but the latter’s transition into the second beats leads listeners towards the groove. Ride cymbal and snare assure the audience anticipates variety. The minimal bridge that follows is made up of a synthesizer, woodblocks, and the ever-present bass. Such is how the the first minute wraps up. With the advent of the second the second verse the track’s signature cannot be missed: three simultaneous percussive elements. The song proves to be so busy, even the relaxed portions are decidedly eventful. Zenith in sight, the free vocals make another decorative cameo. In the final section the number’s final drum pattern is unmistakable (this author refusing to ruin the surprise all the while). Although the first verse repeats before the outro, and symmetry is elusive, this is not problematic. The track's elegance is in its steady progression. In no means derivative, the well mastered “Jack Daniels (Afro Mix)" extracts the most of its danceable qualities from a plethora of elements, all of which are used fully. It cannot be denied, this is a very noteworthy song that deserves to be repeated.

- John Noggle